Scholars are certain Mozart studied Michael Haydn's Symphony No. 28 in C major, which also has a fugato in its finale. Charles Sherman speculates that Mozart also studied the younger Haydn's Symphony No. 39 in C major because he "often requested his father Leopold to send him the latest fugue that Haydn had written."[6] The Michael Haydn No. 39, written only a few weeks before Mozart's, also has a fugato in the finale, the theme of which begins with two whole notes. Sherman has pointed out other similarities between the two almost perfectly contemporaneous works. The four-note motif is also the main theme of the contrapuntal finale of Michael's elder brother Joseph'sSymphony No. 13 in D major (1764).
ハイドンの第13番で、この音型が登場することは英語版の交響曲第41番のWikipediaにもきちんと指摘されていた。“the main theme of the contrapuntal finale of Michael's elder brother Joseph's Symphony No. 13 in D major (1764)”だそうである。 http://en.wikipedia.org/wiki/Symphony_No._41_(Mozart)
The four-note theme is a common plainchant motif which can be traced back at least as far as Josquin des Prez's Missa Pange lingua from the sixteenth century. It was very popular with Mozart. It makes a brief appearance as early as his first symphony in 1764. Later, he used it in the Credo of an early Missa Brevis in F major, the first movement of his 33rd symphony and trio of the minuet of this symphony.[5]The four-note motif is also the main theme of the contrapuntal finale of Michael's elder brother Joseph's Symphony No. 13 in D major (1764).)
◆2002年4月11日（木）CD8 No.30-No.33 No.30 『アレルヤ』 1st movement はバロックのシンフォニアのようにハイドンのトランペットで始まる。 No.31『ホルン信号』名の通りホルンが活躍。2nd movement はホルン入りの室内楽のよう。4thはフィナーレ風ではなくチェロのソロなどがあり。
"The four-note theme is a common plainchant motif which can be traced back at least as far as Josquin des Prez's Missa Pange lingua from the sixteenth century."
Influence：Building on Josquin's fugal treatment of the Pange Lingua hymn's third line in the Kyrie of the Missa Pange Lingua, the "Do-Re-Fa-Mi-Re-Do"-theme became one of the most famous in music history. Simon Lohet,[11] Michelangelo Rossi,[12] Francois Roberday,[13] Johann Caspar Ferdinand Fischer,[14] Johann Jakob Froberger,[15][16] Johann Kaspar Kerll,[17] Johann Sebastian Bach,[18]and Johann Fux wrote fugues on it, and the latter's extensive elaborations in the Gradus ad Parnassum[19] made it known to every aspiring composer - among them Wolfgang Amadeus Mozart, who used its first four notes as the fugal subject for the last movement of his Symphony #41, the Jupiter Symphony.[20]
Fuge Wann immer von Bachs Ruckgriff auf den stile antico die Rede ist, wird zu Recht auf diese vierstimmige Fuge hingewiesen.[3] Das Thema stammt nicht von Bach, sondern geht auf uralte Traditionen zuruck. Es hat seinen Ursprung im Hymnus Pange lingua, findet sich unter anderem in der Missa Pange lingua von Josquin Desprez, in Ariadne musica von Johann Caspar Ferdinand Fischer, bei Johann Jakob Froberger und Johann Caspar von Kerll, und wird noch im Finale von Mozarts Jupitersinfonie eingesetzt.
"Building on Josquin's fugal treatment of the Pange Lingua hymn's third line in the Kyrie of the Missa Pange Lingua, the "Do-Re-Fa-Mi-Re-Do"-theme became one of the most famous in music history."
にあるように 、third line （第3段目）「Sanguinisque pretiosi その血は、この世の代価として」に付けられた音符をト長調の移動ドで読むと、 「ドレファミ」と確かに読めた。
（ちなみにモーツァルトの有名な「Ave Verum Corpus」の「Sanguine」(血)の箇所 には、似た音型が付けられているわけではないので、聖句の意味に対応した意識的な音型ではないことが推定される。）
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